How do you decide on a chord progression?

I'm composing a Theme and Variations in the 'Western Classical Style'. This is covering anything from Baroque to early Romantic. I need to think of a chord progression, but as this is my first proper composition, I have no idea where to start.

I have one that may work, but I would like you're opinion. It is in the key of C Major. I don't know how you're supposed to write this but I'll giveit a shot.

C, F, Db (N6), E7, Am, D, F, G7, (this then continues into another theme)

Forgive my music illiteracy.:blush:

What's your melody? Or another way of asking this is "Can you create the type of melody you want with the chords you've provided?"

Don't feel like your writing in stone. Use a chord progression and start sketching things out. Later, once you have more of the song (and melody) figured out, make any changes you need. If a chord doesn't work, change it. If the melody needs to move down then change that.

Young composers sometimes feel overwhelmed when starting a song. Don't. Approach just like an artist would approach a picture. Sketch things out. A writer would start drafting up basic plot ideas and then work on many drafts to get something solid and perfect. Composers are the same way. Just start! Get your ideas out of your head and onto paper (or computer if that's how you work). Then later comes the revisions and polishing.

MELODY FIRST, HARMONY SECOND! In some extreme cases of mine, the harmony was first, but with lots of trouble you can create a masterpiece if your harmony comes first. I once wrote a piano duet where the harmony came first. It took me months to find a suitable melody, and when I did it was a masterpiece!!!

If you want to write in the common period stye (or Baroque idiom) you have to realise that people did not think in terms of chords and chord progressions. Haydn didn't think "Oh, I'll write a piece in C major, I'll end up with a ii-V-I chord progression in the first half, then I'll modulate to the relative minor, which would be the Am by establishing a pedal E7 for a few measures before cadencing on Am, and then I'll move on to the third section in the dominant before recapitulating in the tonic, C", and certainly Bach didn't.

The best thing to do is study those works and read about the harmonic/melodic/contrapunctal practices of the time(s), and then write your own pieces in the idiom. It is easy to just analyse any work by Bach and reduce it to chords, and then write something following the same chords, although it's not going to be equally effective (because Bach would have written those verticalities as a result of his melodies and bass line, not the other way around).

Thanks for all of your advice. My main issue is that my music lecturer says that I should start with harmony, and I have trouble doing that. All of your advice sounds a lot better than that though, and so I'll follow it. Thanks. =]

No one else can tell you how to write; just because your instructor says to do it one way doesn't necessarily mean that's the best way for you. He or she may do it that way, but if it isn't right for you, I wouldn't try to force it.

MELODY FIRST, HARMONY SECOND!

MELODY FIRST, HARMONY SECOND! In some extreme cases of mine, the harmony was first, but with lots of trouble you can create a masterpiece if your harmony comes first. I once wrote a piano duet where the harmony came first. It took me months to find a suitable melody, and when I did it was a masterpiece!!!

*disagrees as well*

MELODY FIRST, HARMONY SECOND!

This is horrendous advice. (I have never said that on a forum before, but since you put it in caps, I had to say something.)

I would think thematic materials - this would include melodic, rhythmic, and harmonic ideas - would come first. Al ways good to know what you're trying to say before you try to say it.:thumbsup:

First: I prepare a melodic theme

Second: I create harmonic progression

Third: I think about structure, figuration, accompaniment figures etc.

I never tried to compose melody for ready chord progression.

First: I prepare a melodic theme

Second: I create harmonic progression

Third: I think about structure, figuration, accompaniment figures etc

seconded.

You can't... oh wait. yes you can. Anything can be done in any way.

I don't think of music in a way that is so limiting. Sometimes melody is the first, but right now I've been working from concepts.

I would think thematic materials - this would include melodic, rhythmic, and harmonic ideas - would come first. Al ways good to know what you're trying to say before you try to say it.:thumbsup:

agreed.

Thank you for all your advice. I've written a melody now, and I did the harmony at the same time. I.E. I wrote a melody and the chords seemed to fit in with it. So in a way I've used all of your advice =D Thank you all, I expect I'll be making a few more posts about this composition soon.

Sit down and plunk out some chords/melodies until you like what you hear, then write it down. Rules are for problem solving as far as I am concerned, when you get stuck, think about what you're doing and its functional/harmonic context. There is more than one way to think about harmony, and there is also more than one correct way to go about the process of choosing pitch material.

When you are a beginner i would suggest: Just do it. Just go around a make up some melodies. See if you can find some chords you like. See if they go together. If they don't do something else. I think you shouldn't make this to hard on yourself. Just play around and be creative. The more elaborate things will come along if you keep at it. But i think your making it to diffucult for yourself, if you try to take on everthing so theoratical in the beginning. Like some already pointed out. All these technicalities are an aid for, not the means of composing. Just play along a bit and get more serious when you have the abillities to do so. To give you an example. I've been composing for four years now and i don't mind chord progressions. I still just play along. I'm only now starting to take a notice to the technical side. You see, the whole theoratical side only adds to a piece if you already have some creative ideas. Don't rush yourself.

WHOA? Melody first? Harmony second???

I ALWAYS think of a FUNCTIONAL chord progression before I write out a melody ... that only makes sense... If you know what you are doing.

I think starting from a different perspective is very helpful in working out the direction of your music.

I often start with the melody. I also often start with a simple bass-line or vamp. Or sometimes a chord progression....

Anything works, and whatever works for you.... :whistling:

MELODY FIRST, HARMONY SECOND!

*agrees*

That makes sense.

I do it too, but a lot of times in a melody... there is almost an inherent chord progression.

Of course...

Though...I often find the implied harmony is boring and predictable. But, that's just me. :whistling:

I like to take implied harmony (such as a I chord) and make it something more interesting (such as adding the fourth scale degree in the bass). That's how I feel about implied harmony.

Deciding on a chord progression:

Step 1 - Pick a Chord that I like

Step 2 - Repeat

As long as YOU think it sounds good, and you can come up with a melody that you think sounds good with it, it's fine.

If not, it sucks.

~Kal

it really depends on the properities of the idea you want to express.

Usually i never really think about any of them(melody or harmony),i usually start with a main theme or themes and let the piece develop completely on that. But it is also dependent on where you want the theme(s) to travel,you might have to go out of you're way to insure a good transformation to a minor key if you want the themes to take on a mood

that is more contrasting or vice versa.

just start with a theme(s).

oh well. just compose however you want.

even if your music first comes out as a blob, whatever, just write it down and work with it.

If you can write music that's a blob, you must be pretty skilled...